สารบัญการ์ตูน 2

ขายการ์ตูนออนไลน์ รวมการ์ตูนโรแมนติก 40 เล่ม 400 บาท ติดต่อไอดีไลน์ fattycatty

TABOO เล่ม 49

Sixteen เล่ม 34
Princess เล่ม 16
Lady เล่ม 32

Princess เล่ม 108

Sweet Heart เล่ม 20
Muffin มัฟฟิน
Princess เล่ม 44
Princess เล่ม 47
Lady เล่ม 64

Princess เล่ม 53
01  02  03  04  05  06  07  08  09  10  11  12  13  14  15  16  17  18  19  20  21  22  23  24  25  26

ขวัญผวา เล่ม 28

ขวัญผวา เล่ม 31
Special Romance เล่ม 12

Hello เล่ม 34

Black Jack หมอปีศาจ
Princess เล่ม 55
Romance เล่ม 209

ไปสารบัญหน้าที่ [1] ... [3] [4] [5] [6] [7]

ARSON and Serial Murder

Often labeled “fire-setting” when committed by juveniles, arson is ranked by all experts as a major childhood WARNING SIGN of future violent behavior. It is also a crime unique in itself, and some serial killers pursue sidelines in arson throughout their adult lives. As with homicide, the FBI’s Crime Classification Manual (1992) divides arson into various categories by motive, several of which apply to known serial slayers.

The first category, vandalism-motivated arson, is most likely to be seen in children or adolescents, though adults are by no means immune to the urge. The subcategory most applicable to serial stalkers in this field is willful and malicious mischief, often targeting schools, churches, and similar institutions.

The next category, excitement-motivated arson, is subdivided by the FBI into groups labeled thrill seeker, attention seeker, recognition (hero), and sexual perversion, all of which apply to known serial killers. DAVID BERKOWITZ kept a detailed log of fires he set and false alarms he telephoned to New York City fire stations. In England, BRUCE LEE could only reach orgasm while lighting and watching residential fires, a quirk that claimed 22 lives before he was captured. Serial arsonist John Orr, himself a captain and arson investigator with the Glendale, California, Fire Department, was convicted and sentenced to prison in 1992 for setting various brush and house fires around the Los Angeles area during 1990 and 1991, including one fire that destroyed 67 hillside homes; six years later, in June 1998, Orr was convicted of setting the 1984 blaze that killed four persons in a Pasadena hardware store. Curiously, Orr set fires most often after attending seminars with fellow arson investigators.

Revenge-motivated arson may include fires set for personal retaliation, societal retaliation, institutional retaliation, group retaliation (as by gangs and cults), or intimidation. David Berkowitz once tried setting fire to the apartment of a total stranger whom he thought was somehow “plotting” against him. David Wayne Roberts killed three persons when he torched the home of a salesman who reported him for stealing auto tires. Crime-concealment-motivated arson is another type that fits some serial offenders. In New York, sadistic slayer Richard Cottingham set fire to a hotel room where the headless corpses of two women he’d killed were recovered from the ruins. Russia’s ANATOLY ONOPRIENKO, with 52 kills charged against him, massacred whole families with his favorite shotgun, then burned their houses down in an attempt to destroy evidence. Similar motives are seen in cases of bodies left in burning cars (though torching a car is not legally classified as arson).

Profit-motivated arson is a favorite pastime of certain BLACK WIDOWS and other serial killers driven by desire to collect insurance payoffs. BELLE GUNNESS and Virginia Rearden both collected insurance payments from multiple fires before they turned to killing for profit. (Belle also faked her own death, leaving another woman’s headless corpse in the ashes of her Indiana home before she fled to parts unknown.)

Extremist-motivated arson, in FBI parlance, is subdivided into arson as a tool of terrorism, discrimination, or riots and civil disturbance. A prime case in point is racist nomad JOSEPH FRANKLIN, who torched synagogues between his deadly sniper attacks on blacks and interracial couples.

Serial arson rates a category of its own in the FBI manual, once again defined (as with SERIAL MURDER) as “three or more firesetting episodes, with a characteristic emotional cooling-off period between fires.” Predictably, the cooling-off period remains undefined but “may last days, weeks, or even years.” No allowance is made in the FBI’s taxonomy for arsonists arrested after their second fire, but again, those deemed to act without the undefined hiatus are dubbed spree arsonists. Finally, mass arson is defined by the Bureau as the setting of multiple fires at a single location, as on several floors of a high-rise hotel. No explanation is offered for how this may differ from, say, the profit-motivated burning (with multiple ignition points) of a large building torched for insurance.

All That Glitters Is Not Gold Urban Legends
A woman riding a Manhattan subway feels her gold neck chain being snapped loose just as the train slows down at a station. Reacting automatically, she reaches over and snaps off the chain that’s around her attacker’s neck, and he runs out the door and up the stairs. Later, a jeweler tells her that
the chain she grabbed was pure gold. Her own chain was an inexpensive fake.

This story was heard by a New York City journalist in 1989 but could not be verified. It was included in a collection of urban legends because of its familiar unwitting-theft theme. Also validating this inclusion is a legend titled “The Pearls” known in the United States and Great Britain since about 1940, in which genuine and fake pearls are confused. One version of the pearl story echoes the plot of an 1884 story by French writer Guy de Maupassant. Other variations of the story have been collected
recently in Italy. A version published in a Scottish newspaper in 1968 is quoted in the entry for Scotland.

Amusement Park Dangers Urban Legends
Rumors and stories about crimes and serious accidents supposedly taking place at amusement parks have plagued these sites for decades, although their safety records are good and their crime rates are no higher than elsewhere. This folklore seems to suggest that behind the facade of innocent family fun and entertainment lurk hidden dangers that the press refuses to report. (In this respect, amusement park stories are similar to those concerning shopping mall crimes.) Commonly these legends name a
specific nearby park and make the claim that someone—often a child—was injured or killed recently without any notice being released to the public.

Many such legends describe snakes, scorpions, spiders, or other venomous creatures lurking inside the rides and other attractions. There are accounts of water snakes in the Tunnel of Love and log-flume rides, rattlesnakes nesting in roller coasters or bumper-car rides, and other biting creatures infesting the merry-go-round horses. Usually, these intruders are said to have nested in the rides either during construction abroad (often India) or during winter storage; the creatures went undetected when the rides were set up in the spring.

In an updating of these stories, some “Playlands” of modern fast-food outlets are said to have poisonous serpents buried in the bins of plastic balls in which happy children jump and play. Nobody, of course, ever knows an actual child who was bitten, since the tragedy always occurs to a friend of a friend.

Another amusement park danger theme is that of electrocution when a person accidentally makes contact with a “hot” electrical wire in a fun house, a ride, or some other carnival attraction. One version of this theme claims that a boy was electrocuted when he sneaked out of a car and urinated
on the electric rail of a ride.

A major fear of many parents is represented in legends about kidnappings that supposedly took place at amusement parks. Children are said to have been snatched from their parents—or else nabbed while they lag behind the rest of the group—and tossed over the fence of the park to a waiting accomplice. The kidnapper escaped, and the child was never found again, although sometimes it is said that he or she was recognized in a kiddie-porn film. No such actual crime has ever been documented, and these stories migrate from park to park and region to region.

Analysis and Interpretation Urban Legends
In researching urban legends folklorists scrutinize the history, the variations, the distributions, and the structures of individual legends. Studies also focus on the motifs and themes common to several legends and legend-cycles, as well as on the styles and settings in which urban legends are communicated, whether by word of mouth or in written, printed, broadcast, or electronic media. Another avenue of research is evaluating the use of traditional urban-legend plots in literature as well as in films, television, cartoons, songs, advertising, and other pop-culture sources. Basic to all such studies is the fundamental question of definition: What is a legend, as opposed to, say, a rumor, proto-legend, joke, anecdote, or hoax? Also, what distinguishes an urban (or contemporary or modern)
legend from the older traditional legends?

The basic requirements for good studies of urban legends are the same as for most other folklore research. Texts must be recorded accurately, and full documentation must be secured as to who has told the stories and to what audience, for what purpose, and with what response. Texts from published sources must be identified as to publication and date; when possible, it is useful to query the author of the work as to his or her sources for the legends.

Historical and comparative analysis of urban legends is facilitated by a classification of individual legends, such as the system included in The Baby Train (1993) and expanded for inclusion in this encyclopedia. Further published examples of urban legends and legend studies are referenced in collections such as The Vanishing Hitchhiker (1981) and in the bibliography Contemporary Legend (1993) compiled by Gillian Bennett and Paul Smith. Stith Thompson’s The Motif-Index of Folk
Literature (1955–1958) is an essential reference for tracing themes common in wider folk tradition, both internationally and in the past.

Although many people wonder about the origins of specific legends, few definitive answers are possible. Two legends (out of hundreds!) that were actually traced to their likely sources both enjoyed a considerable boost from the mass media and were followed back to their starting points largely
via comparing these media sources. (See the entries “The Heel in the Grate” and “The Unsolvable Math Problem.”) Several other legends, including “The Choking Doberman” and “The Robber Who Was Hurt,” clearly derive from older traditional legends. But for the vast majority of urban legends, the question of origin can best be explained by “communal re-creation”—the process by which each teller of a story re-creates the plot from a partly remembered set of details. The teller then either unwittingly or deliberately varies the story by adding, dropping, or changing certain details. Thus each storyteller helps to keep the dynamic story alive, whatever the ultimate origin of the plot may have been.

The meanings or messages of urban legends are often clear, concrete, and obvious; sometimes these meanings are even stated directly, as when a teller of “The Attempted Abduction” warns you never to let your child out of sight in a shopping mall or department store. Other urban legends advise more subtly, for example, that one should check the backseat of his or her car, distrust large corporations, and be suspicious of an anonymous gift (see, e.g., “The Killer in the Backseat,” “The Procter & Gamble Trademark,” and “The Double Theft”). It is safe to assume that every urban legend bears some kind of stated or implied message, whether or not it is directly intended by the individual teller.

While some people claim that most urban legends are told merely for entertainment—with the exception of stories with a clear stated moral—folklorists may point to elements of the stories that have powerful symbolic suggestions. “The Hook,” for example, is a scary story sometimes told without any strong belief in the truth of the plot by adolescents at slumber parties or around campfires. On another level, however, it seems obvious that the story serves to warn teenagers against the dangers of “parking” in dark, secluded spots. Possibly the warning on the car radio of the escaped hookman represents the parents’ typical warning, “Now be careful, and don’t stay out too late!” Folklorist Alan Dundes suggested that the hook itself may represent a phallic object that is symbolically torn off by the car’s rapid departure, reflecting the fact that the boyfriend in the car hoped to “get his hooks into the girl” before his efforts were interrupted by the warning. See also Comparative Approach; Context; Definition of “Legend” and “Urban Legend”; Fortean Approach; Freudian Approach; Historical Approach; Linguistic Approach; Motif; Performance of Urban Legends; Sociological Approach; Structural Approach; Symbolic Approach

Anecdote Urban Legends
A single-episode personal legend, supposedly true, but often apocryphal, told about either a famous person or a local celebrity with the purpose of illustrating some unusual or eccentric trait of character or personality of that individual. Typically, anecdotes lead up to some witty, bizarre, illogical, or simply amusing comment that the subject of the story is alleged to have uttered. A series of anecdotes may circulate about the sayings of a particular personality, such as baseball player Yogi Berra, who, among many other things, is supposed to have said, “You can observe a lot just by watching,”
“It’s déjà vu all over again,” “When you come to a fork in the road, take it,” and (perhaps the most revealing attributed remark) “Half the things I said I never said.” In contrast to these simple stylized anecdotal stories, the urban legend about baseball player Reggie Jackson supposedly frightening someone on an elevator is a longer and more complex narrative with no factual basis, and it is attributed to several other celebrities.

Animals in Urban Legends
One whole section of a classification of urban legends (some 60 stories) concerns legends about animals; animals appear in the legends of several other sections as well. Gillian Bennett and Paul Smith’s 1993 bibliography Contemporary Legend contains about 150 entries and several crossreferences under “Animals,” including species ranging from frogs, newts, slugs, and toads to elephants, cattle, monkeys, and wolves. Some of the classic urban legends are animal stories, such as “The Choking Doberman,” “The Mexican Pet,” “Alligators in the Sewers,” and “The Dead Cat in the
Package.” Along with cars, crime, sex, and horrors, animals are among the most prominent themes in modern urban legends.

A high proportion of animals described in urban legends are pets, and, as often as not, these beasts come to some sad end, as when a dead rabbit is disinterred (“The Hare Dryer”), a gerbil is crushed (“The Bump in the Rug”), a poodle is cooked (“The Microwaved Pet” and “The Dog’s Dinner”), or a hunting dog is detonated (“The Loaded Dog”). However, in other animal legends a pet or a creature from the wild may get its revenge, as when a cat’s death leads its owners to have their stomachs pumped (“The Poisoned Pussycat at the Party”), a stunned deer trashes person’s car (“The Hunter’s Nightmare”), a kangaroo makes off with someone’s coat and its pocket contents (“The Kangaroo Thief”), or (as in most versions of “The Loaded Dog”) when the unfortunate animal victim takes the hunters’ new truck or camper with it.

Many animals in urban legends are depicted as infesting or contaminating either food (e.g., “The Mouse in the Coke,” “The Kentucky Fried Rat,” and “The Rat in the Rye Bread”) or even a human body (e.g., earwig stories, “Spiders in the Hairdo,” and “The Bosom Serpent”). Other animal contamination stories that usually are classified under different headings are “The Bedbug Letter” and “The Spider Bite.” Animals fill other roles in complicating humans’ lives in legends like “The Cat (or Dog) and the Nude Man,” “The Elephant That Sat on the VW,” “The Elevator Incident,” “The Flying Cow,” “The Pig on the Road,” “The Stuck Diver,” and “The Turkey Neck.”

“The Animal’s Revenge” Urban Legends
This is the generic title for a series of stories in which a sadistic person or persons attach an explosive to an animal, light the fuse, and release the animal. The intended animal victim, however, takes refuge in, near, or under some valuable property, blowing it to pieces. The animal thus wired, in various versions of the story, includes a coyote, a dog, a rat, a rabbit, a raccoon, a possum, a hawk, and even a shark. The property destroyed may be a truck or other vehicle, a boat, a tent, a chimney, a porch, or a whole building. In some versions the tormentor of the animal himself becomes the victim of  its revenge.

An Australian version published by Graham Seal is, he explained, “really a modernised old bush yarn”; it describes the frustrated efforts of a professional rabbit exterminator:

The Loaded Rabbit
A rabbit-oh [professional wild rabbit exterminator], new to the task of catching bunnies, was not having too much luck. No matter what he did, he couldn’t seem to bag a single bunny. The old hands were doing well, so the new bloke decided to ask them for advice. They told him to get himself a rabbit, tie a stick of gelignite to its tail, light the “gelly” and send the rabbit down the nearest burrow. This would guarantee a big, if messy, haul.

The new bloke thought that this was a fine idea. The only trouble was he couldn’t catch a rabbit in the first place, so he decided to buy himself one from the pet store in town. Back in the bush, he removed the rabbit from its cage, tied the gelly to it, lit the fuse and pointed the animal towards the burrows. Off went the rabbit, but, having been born in captivity, it didn’t know what to do in the wild. The rabbit circled round and round and ran back towards the bloke, fuse spluttering. It finally scurried underneath his expensive new ute [SUV], blowing the whole thing to buggery.

A passage in the Bible and an Aesopian fable called “The Burner Burnt” are prototypes for “The Animal’s Revenge”; in these an animal is set afire and released into fields of ripe grain. In older versions of “The Animal’s Revenge,” the animal is wired with explosives in an attempt to injure another person or his property, but in more recent versions the cruel perpetrators are often hunters whose dog, a retriever, inadvertently picks up the explosive.


  1. โอ้ว taboo นี่ก็ชอบ ขอบคุณค่ะ อ่านมาตั้งกะสมัยเป็นนักเรียน

  2. ชอบ princess มากเลยค่ะ ลงอีกเยอะๆนะคะ ตามอ่านอยู่ค่ะ ขอบคุณค่า

  3. ชอบ princess มาก มาก อีกคนค่ะ ปูเสื่อรออ่านตอนต่อไปค่ะ ขอบคุณค่า

  4. สนุกกกกกกกกกกกกกกกกกกกกกกกกกกกก

  5. This comment has been removed by the author.

    1. พ่อวายร้ายสนุกมากกกก

  6. ชอบรักย้อนรอยมากกกกเรยค่ะสนุกจิงๆอัพมาอีกนะคะขอบคุนค่ะ

  7. ติดตามทุกเล่ม ทุกเรื่องเลยค่ะ ชอบมากๆ เข้ามาอ่านเป็นประจำ อัพต่อไปนะคะ ตามอยู่จ้า

  8. ขอบคุณที่อัพการ์ตูนสนุกให้อ่านน่ะคร้า ยังรออ่านต่อไป สู้ๆ

  9. น้ำตาท้วมจอ >< ฟิน~~~

  10. ตามอ่านทุกวันเลย ชอบทุกเรื่อง อัฟเยอะดี ชอบอ่านการ์ตูน

  11. สนุกมากกกกก. ������

  12. สนุกทุกเล่มเลย โดยเฉพาะหลอนๆนี่เป็นไรที่ดูจิตนิดๆ :)

  13. โอ้ววววววววว นี่มัน สรวงสวรค์ชัดๆ


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SAINT ADAM มารยาปรารถนา 7 เล่มจบ THE B.B.B. ลงเอยที่ความรัก 5 เล่มจบ ราศีมรณะ เล่มเดียวจบ หน้ากากนักสืบ 2 เล่มจบ หวานใจองค์ชายมองโกล 5 เล่มจบ เกียรติยศรัก 2 เล่มจบ ขายการ์ตูนออนไลน์ เกมรักพยาบาท 5 เล่มจบ ขายการ์ตูนออนไลน์ คุณหนูไฮโซโยเยรัก 8 เล่มจบ การ์ตูน เจ้าหญิงซ่าส์กับนายหมาบ้า 6 เล่มจบ ขายการ์ตูนออนไลน์ รักทั้งตัวและหัวใจ 6 เล่มจบ หัวใจไม่ร้างรัก 2 เล่มจบ การ์ตูน เหิรฟ้าไปคว้ารัก 5 เล่มจบ การ์ตูน แกล้งจุ๊บให้รู้ว่ารัก 12 เล่มจบ ขายการ์ตูนออนไลน์ นางฟ้าซาตาน 3 เล่มจบ การ์ตูน วังวนปรารถนา 2 เล่มจบ GOLD รักนี้สีทอง 2 เล่มจบ เกาะนางพญาเงือก 2 เล่มจบ หนุ่มสุดขั้วบวกสาวสุดขีด 6 เล่มจบ